Showing posts with label Wild Turkey. Show all posts
Showing posts with label Wild Turkey. Show all posts

Friday, August 28, 2015

TDATS 121: Dreams & Screams [NWOBHM-ish '70s hard rock]

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TDATS 121: Screams and Dreams by Rich Aftersabbath on Mixcloud

Volume 121 brings something for all heavy metal fans, with a fast, heavy set. Furthering an idea that first inspired volume 67, this latest comp is another selection of former-half ‘70s tracks (‘69-‘76) that remind me of the galloping, speedy, heavy metal sound that would be typified in the late ‘70s and ‘80s. In the UK, that was around the time of the much vaunted New Wave Of British Heavy Metal (NWOBHM) and famous bands like Iron Maiden and Judas Priest. Along with those two, groups such as Thin Lizzy made use of another band mechanic that exemplified the times, dual lead guitarists, often playing in harmony. You’ll find all these things and more in this selection.

Judas Priest pre-leather days
Judas Priest pre-leather days
I find it intriguing when I hear these types of sounds coming from bands in earlier times, perhaps the NWOBHM bands (and bands from other parts of the world - metal was getting militaristically heavy in the US at the same time) were partly inspired by some of the early ‘70s hard rock pioneers in this comp, and inspired to push the limits they set? Another important factor linking some of the bands here with the later metal bands are the producers/engineers, as we’ll see later. In the case of Tiger, there is a direct link via singer Nicky Moore, who replaced Bruce Dickinson in Samson.

There are tracks from new TDATS guests Agnes Strange, Tiger and Fuzzy Duck, along with new tracks from familiar names like Jerusalem, Tucky Buzzard and Gun. The Gun track here is from 1969 and along with Andromeda they were surely one of earliest bands to attempt this regimented stylistic attack. Although mostly English bands, we have some international wildcards in Désirée (Ger), Kleptomania (Bel), Taste (the Australian one), Left End (US) and Neon Rose (Swe). Speaking of Sweden, that country has consistently come up in TDATS comps with bands playing NWOBHM-ish sounds; Rhapsody, White, EF Band, Neon Rose, Plebb etc, and to this day lots of new Swedish bands are still doing it.


01. Tucky Buzzard - Bo-Bo's Hampton (1973)
       from album ‘Buzzard’
02. Jerusalem - Hooded Eagle (1972)
       from album ‘Jerusalem’
03. Désirée - Listen To The Radio (1976)
       from album ‘Make It With A Smile’
04. Agnes Strange - Granny Don't Like Rock 'n' Roll (1975)
       from album ‘Strange Flavour’
05. Gun - Dreams And Screams (1969)
       from album ‘Gunsight’
06. Wild Turkey - Butterfly (1971)
       from album ‘Battle Hymn’
07. Kleptomania - Cadens (1972)
       from album ‘Elephants Lost’
08. Tiger - I'm Not Crying (1976)
       from album ‘Tiger’
09. Taste - Lady of Love (1976)
       from album 'Tickle Your Fancy’
10. Left End - Spoiled Rotten (1974)
       from album ‘Spoiled Rotten’
11. Hustler - Piranahas (1974)
       from album ‘High Street’
12. Neon Rose - A Man's Not A Man (single edit) (1975)
       from album ‘Reload’
13. Geordie - Ten Feet Tall (1974)
       from album ‘Don't Be Fooled By The Name'
14. Fuzzy Duck - In Our Time (1971)
       from album ‘Fuzzy Duck’

The Bands

Tucky Buzzard was prolific for a short time, making five albums within five years. I have used a track from their fourth, the record called simply "Buzzard". Their albums were all produced by an unexpected name, Bill Wyman, Rolling Stones bassist 1962-92. Bill made musical contributions too, on piano, and brought in a number of backing musicians that had worked with the Stones. Tucky was started by three former members of The End; Dave Brown, Nick Graham and Paul Francis, however Paul Francis soon split to join Fuzzy Duck, who coincidentally also appears in this comp.

The End's sole album (1969) was also produced by Bill and is well-regarded. On the Sicilian Palermo Pop poster opposite, the band is actually described as "Bill Wyman's Tucky Buzzard". The song I used here, "Bo-Bo's Hampton", is a perfect opener with it's relentless gallop and harmonised guitar lines, a great track! Strangely, most of Tucky's albums didn't get a UK release initially, the debut s/t was US-only and "Coming On Again" was published in Spain. Maybe this lack of exposure in the UK was intentional but it might go some way to explain why they always remained under the radar, here in the UK at least. There's a detailed account for further reading here at

Jerusalem made one album that was produced by Deep Purple's Ian Gillan, who wrote these words for the s/t album's liner notes: "This is the first album by Jerusalem, a band which excites me very much; they are rough, raw and doomy with their own strong identity. As they are young and a bit green, they don't follow many rules, so their material is almost crude - but still immensely powerful in content. I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self-consciousness set in, before fire and aggression die down, and while they are still absorbing influences and doing things which others might consider 'uncool'. Most important though, before they might develop that self-imposed rigidity which afflicts so many. I hope none of these things happen to Jerusalem, we'll have to wait and see......I hope you like it as much as I do".

This album has since been remastered by Rockadrome. Jerusalem's debut was surely one of the most innovative heavy albums of it's time, it's approach was raw and had a youthful, timeless, almost punk-like attack that set it apart from the bluesy goings-on of the established heavy bands like Led Zep, or even Sabbath to a degree. Unfortunately Jerusalem didn't last, and the spin-off band Pussy went in for glam pop, which did result in a couple of rocking tracks but otherwise left the sphere of music that TDATS is interested in.

Désirée - Make It With A Smile back
Make It With A Smile back
Hanover's Désirée played a remarkably ahead of it's time chugging brand of early metal, much more in line with the UK's NWOBHM bands like Judas Priest or Thin Lizzy than much else I have heard from Germany at the time. The singing, although in English, is an unfortunate weak point as it's quite high pitched and indistinct, and this is not helped by the basic production. But persevere and you will find some truly excellent galloping metal and guitar interplay. "Listen To The Radio" demonstrates this perfectly, the more I listen, the more I can overcome any short-falls.

Désirée - Make It With A Smile front
Make It With A Smile front
They really remind me of an enigmatic Luxembourg band called Cold Feet that I have used a couple of times before, back on Vol22 and Vol67.  The similarity does not stop at the sound, but also reaches to the album art which also shows a scantily-clad 'lady of the night' type character in black and white. Not an unusual theme for a band in the seventies I know, but still eerily similar taking into account the year, country's proximity and sound. I have recently spoken to the drummer of Désirée, there isn't. Apparently most of the original Désirée lineup are back together now in a new band called 'New Fancy'.

Agnes Strange
Agnes Strange
Agnes Strange are a new name in this blog, and here are the liner notes from their UK edition LP: "Agnes Strange sprang into being in 1972 in the Southampton area where they still return when gigs on Christmas Island begin to become intolerable. The band set out to create a sound of their own fusing naturally with their own material today’s feeling for Rock and a touch of Chicago style blues.

In late 1974 the band moved its base to London in order to be managed by the Dick James Organisation. Since then the band has built up a large and loyal following and I hope that this album will enhance their stature in the world of Rock. Agnes Strange has, I feel, the rare ability to not only be aware but to stay aware.

Agnes Strange - Strange Flavour front
Agnes Strange
Strange Flavour front
John Westwood was recently quoted by a newspaper as saying that he came ‘from nowhere really’. Having known John for four dreadful years I cannot recall him ever having been fully aware of his surroundings. John is dedicated to the success of ‘Agnes’ and after years of frustration his patience is bearing fruit. John is an astonishingly talented guitarist and is completely natural in his stage presentation. Alan and Dave are very fortunate that he joined Agnes Strange as he had only just failed to secure the lead in a major feature film ‘I Was A Teenage Mistake’.

Dave Bodwell could be described as a charming young man. Could be. On stage he plays drums with an eerie, almost evil absorption. Dave works hard towards a tight sound and drives a hard, regular rhythm pattern.

Alan Green off stage is an easy going cabinet maker and smiles gently most of the time. On stage he shows himself as a dedicated bass player who believes a straight solid bass line is essential to the Agnes Strange sound. The band has to be seen to be believed."

This was written by Agnes Strange's producer Dave Travis (link). As well as being a performer, Dave was a producer and mastering engineer and worked on records from the likes of Deep Purple, Steppenwolf, Iron Butterfly and Robin Trower.

Gun debut LP 1968
Gun debut s/t LP 1968
Gun were an important and influential English hard rock band, and one of the very first. Everyone knows about their classic 1968 top ten single, "Race with the Devil" (youtube), it has been covered ever since by famous and underground acts, right up to modern bands like Church Of Misery. The Gun was a development of guitarist Paul Gurvitz's The Knack (prev. The Londoners, formed 1963). Paul's father was road manager for The Shadows so he had a good introduction to rock and The Londoners had already played in France and Hamburg by the time they settled in London, becoming The Knack, then in 1966, "The Gun". Soon after they were playing at the UFO Club, supporting names such as Pink Floyd, Arthur Brown and Tomorrow.

Gun - Gunsight 1969
Gun - Gunsight 1969
By 1968 Paul's brother Adrian had joined on guitar, himself having already cut his teeth with Rupert's People (see Vol70) and pre-T2 bands Please/Bulldog Breed (see vols 27 & 74). Gun recorded two albums and they honed their hard rock elements further on the second LP, Gun Sight, which "Dreams and Screams" is taken from. After Gun the Guvitz brothers were in more bands together, including the excellent Three Man Army (see Vol46) and Baker Gurvitz Army with Ginger Baker, as well as separate projects. Both are still working in the music business. Paul started The New Army band in recent years, where he now lives in Arizona. He did an interview with PsychedelicBaby in 2011, and his website is (link).

Wild Turkey
Wild Turkey was formed by bassist Glen Cornick after his dismissal from Jethro Tull. The first of their two albums, 'Battle Hymns' (1971), is of main interest to TDATS, as it has a few great heavy prog cuts like "Butterfly". During its life the band toured the UK and US with Black Sabbath, and included members past and present of Babe Ruth, Eyes of Blue, Man, Ancient Grease, Gentle Giant and Cozy Powell's Hammer, among many others. The second album was far less exciting, and I see them as something of a wasted opportunity as LP # 1 had some great proto-metallic prog which was very ahead of it's time, they could have been at the forefront of metal with Sabbath, Judas Priest et al with a bit more development, had they so desired... Glenn Cornick interview about Jethro Tull, Wild Turkey

Tiger debut LP 1976, back
Tiger debut LP 1976, back
The Tiger album is a fun listen with some elements of the forthcoming heavy metal sounds, but it also harks back to the past with some old hands at the helm like famous session guitarist "Big" Jim Sullivan. Jim's friend and Tiger producer Derek Lawrence had previously worked on records from names like Hackensack, The Green Bullfrog Session, UFO, Wishbone Ash, Angel and NWOBHM originators Quartz to name just a few. Tiger released two albums, a third LP was recorded in 1977, but Jim says "I felt only the last one was where I wanted the band to be. We used Simon Phillips Drums, Percy Jones Bass, Dave Lawson keyboards and Maurice Pert on percussion. Yours truly on guitar of course. E.M.I. shelved the album and our manager of that time John bought the tapes and released the album on his label. [Which became Big Jim Sullivan Band's 'Test of Time', 1983]".

Jim died in 2012 but by all accounts he leaves a respected legacy. He had been recording since 1957 and played on over 800 singles and LPs, including 54 UK Number Ones. You could write an entire book on his career, here's a printed interview (link).

Nicky Moore in Samson (left)
Nicky Moore (left)
in Samson
Tiger's singer Nicky Moore had previously been in Hackensack (see Vol66) who's best, most metallic tracks in my opinion only appeared on later archival releases, alas with terrible sound quality, and he links this comp to some more modern metal sounds. Wikipedia :- "Nicky Moore (born 1952, England) is best known as a former member of the British band Samson (link). He replaced Bruce Dickinson who left the band to join Iron Maiden in 1982. Moore left Samson in the late 1980s and rejoined in the late 1990s. After his initial departure from Samson, Moore sang in the band Mammoth, which also featured former Gillan bassist John McCoy. After two albums they split in 1989. In 2006 Moore teamed up with Nazareth guitarist Manny Charlton and three musicians from the Swedish band Locomotive Breath, to record an album under the band name "From Behind". The band performed at the Sweden Rock Festival in 2006. Since 1994, Moore has helmed "Nicky Moore and the Blues Corporation", who were voted 'Top Live Blues Band' by BBC Radio 2 listeners in 2000."

Kleptomania (meaning: "an irresistible urge to steal items of trivial value") were an example of very early Belgian hard rock, Dany Lademacher's guitar skills being especially prominent in their sound, but alas they softened their sound on later singles and their only album release was a posthumous bootleg in 1979, three years after breaking up. I will quote a very interesting review by purpleoverdose over at RYM: "One of the better albums from Belgium in the 70's. Herman Brood became very popular in Holland at the end of the '70s, one part was pumped up media hysteria and one part were his ''live'' shows. He played in every shithole in Holland and as a result of the extensive touring he gained chart-success.

Danny Lademacher [Kleptomania guitarist] was part of his band. As a result of the attention in the Dutch media, a 1972 Kleptomania demo-tape once sent to FLAME Records was given to a record shop owner who in the past had released a 45 under the name of ''Bag'' (see Vol35), on FLAME Records. He was impressed by the demo and decided to press a bootleg LP. It went for sale under the counter in his record shop. He hoped to sell them quickly but it took more than 10 years to sell them.

I frequently visited his shop in those years because critics who wrote for music magazines dumped their promo albums there and he sold them for bargain prices. Just as he got rid of the boots in the early '90s, the internet & Ebay started. He saw the demand for the album rising but he had none left!". There's some more details here at

Taste - Knights of Love
Taste are up next, a Melbourne band, with Joel Witenberg (drums, vocals), Ken Murdock (guitar, keyboards, vocals), Joey Amenta (guitar, vocals), Michael Tortoni (bass, vocals) and Virgil Donati (drums). They had a histrionic approach, and at times a metallic sound. Though they are clearly indebted to Queen's melodrama, they were a much younger band, so perhaps they were also taking notice of the beginning of the NWOBHM at the time. It's said that Queen liked them and used to play Taste's 'Boys Will Be Boys' on tour before they went on stage.

Taste’s lead singer and songwriter Ken Murdoch said in a recent interview: "I started singing in shitholes when I was 15, By the time I was 17, I was a veteran of pub rock alongside Joey and Michael. We had been booed, spat upon, and ignored until we got it right and that’s something bands don’t have anymore. But once you get it right and that crowd love you something magical happens between the two of you. I don’t see that happen much anymore".

Amenta left to join Redhouse in 1977, according to Rock on Vinyl's article Taste achieved quite a lot of success with two top-twenty albums, playing to audiences as large as 13,000, so it seems a shame they called it quits early on and I have been unable to find out why as-yet, but they have reformed and gigged quite recently and even made a new ten track album.

Neon Rose
Stockholm's Neon Rose were a band clearly showing the mid-seventies development of hard rock into speedy heavy metal, as the blistering 'A Man's Not A Man' demonstrates. They were lucky enough to get signed to Vertigo almost immediately on formation. After listening through all their recorded output, it's clear they had the musical chops to make it. The problem seems to me that none of their 3 albums were quite consistent enough to adequately maintain the Motörhead-like intensity which they hinted at. A good example of where a little more quality control could have made all the difference.

Left End - Spoiled Rotten 1974
Left End
Spoiled Rotten 1974
For another curve ball entry in this volume, we go to Youngstown, Ohio to find the Left End. An excellent band that only made one LP and were a local name in the US, but could have been more widely renowned I think. They had a mix of hard rock and metal, with glam and Queen-like pomp which all made for a heady brew that sounds substantially ahead of it's time. Among the tracks on the 1974 album "Spoiled Rotten", there are some seriously heavy moves and it's a shame the band didn't produce more albums, although they did make singles sporadically until the early '80s. Front man Dennis T. Menass (real name Dennis Sesonsky) was a unique performer that you'll just have to hear, sadly he passed away a year ago.

"He turned heads with his exorbitant costumes, his makeup, his whole persona just commanded attention. He could control an audience anywhere in the country” :- Left End drummer Pat Palombo. A short local news item can be seen here (link) and there is a Left End website here (link).

High Street LP 1974
Nearing the end we have another UK act, Hustler. Their first album, "High Street" (1974) is a worthwhile hard rock set and the track Piranahas has a hammond organ-assisted urgency and relentless speed that makes it perfect for this comp. The second Hustler LP is a disappointment in regards to where the first one was going, it plumps for a staid, boring boogie rock sound which was an unfortunate decision, for us at least. One funny fact-ette is that Hustler drummer Tony Beard, being one of the more prolific members post-Hustler, surfaced briefly in Go West, a UK pop duo who had chart success in the mid-eighties.

Geordie were a Newcastle-upon-Tyne band that started in 1971 and are chiefly remembered as singer Brian Johnson's launchpad, who would later replace Bonn Scott in AC/DC. They were a band aiming for commercial success in the same area as Slade and Sweet, thus their catalogue is a varied bunch of styles with glam and boogie which we'd not be so interested in here, but they did rock out now and again as on tracks "So What" (see Vol7) and the track here; "Ten Feet Tall", which is brilliant.

Brian's trademark AC/DC scream was not fully developed at this point but you can hear it just about coming through in this long and tumultuous song, it has peaks and troughs and is a great ride, too bad the band didn't match these heights very often. The band didn't last long after Johnson left in the late '70s, initially to pursue a solo career, although sometimes he performed with his own band using the name Geordie II. The original group attempted a comeback in 1983, and again as "Powerhouse" (link) in 1986, with little success.

Fuzzy Duck s/t 1971
Fuzzy Duck s/t 1971
We reach the end of this set with a belated appearance from a record that that I surely should have used by now, as it's really good. This is the eponymous Fuzzy Duck LP, one of the older entries here, recorded in 1971. They play jazzy prog rock, with excellent musicianship, driving hammond organ and plenty of rocking riffs. Bassist Mick Hawksworth had previously been in Andromeda (Vol51) with John Du Cann, another similarly cool band. He was also in other TDATS bands, Killing Floor (see Vol7) and Toe Fat (Vol2). Drummer Paul Francis had been in The End, and briefly in this volume's opening band, Tucky Buzzard. The Duck enjoyed some radio play, including "A Big Word From D" and "Double Fine Woman", which were both favoured by BBC stations.

Fuzzy Duck in the studio
Fuzzy Duck in the studio
In the Esoteric Recordings CD re-issue Paul Francis stated that one of the major things that broke the band up was internal friction with guitarist and founder Graham White, which he regrets in retrospect. They managed to turf him out and replace him with Garth Watt-Roy (Steamhammer, The Greatest Show On Earth) who was a great guitarist, but it didn't go down well with the record company. After the Duck had quacked it, Graham White joined Capability Brown (Vol54), Paul teamed up with Chris Speading and Steve Harley, playing on a couple of Cockney Rebel LPs and Mick Hawksworth worked with Alvin Lee among others.


Thanks to all these hard rock and prog pioneers, the brilliant beast that is heavy metal was born, and it looks like it's here to stay! Keep your head down, and keep it banging!
Cheers, Rich.

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Monday, November 18, 2013

TDATS 94: It's Psychedelic Baby (with Klemen Breznikar)

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unzip password:  tdats
Welcome to TDATS 94! For this edition I have chosen to interview Klemen Breznikar. He lives in Ljubljana, Slovenia and he's the editor-in-chief of a psych rock webzine called "It's Psychedelic Baby" [IPB]. In a similar way to the book review/interview I did with Ra'anan Chelled for Volume 85, I've also taken this opportunity to compile an hour's worth of favourite tracks from acts that appear in articles I read on IPB, all of which included interviews with one or more of the original members.

Those of you who frequently use the net to search out obscure rock may well have come across IPB already, as it has covered a wide range of related subjects since it started three years ago. During this time IPB has attracted contributions from around thirty voluntary writers, including some of the old-school artists themselves like folk musician Dave Bixby and Djin Aquarian of Ya Ho Wha 13. Amongst many things, IPB contains regular columns from writers, many first-time scoop interviews with artists from the last fifty years that Klemen has tracked down, and coverage of new bands in the psychedelic arena, via interviews, record reviews and live reviews.

IPB has conducted interviews with countless bands that have appeared in TDATS before and for this comp, apart from Finland's 'Charlies', all the artists are new to TDATS so it's been a great learning experience for me. Over half of the tracks appearing are from the '60s, and the rest are from the early '70s. There's a bit of everything here, Bakerloo and Corpus's blues rock, Charlies and Pluto's hard rock, Harvey Mandel's experimental jazz guitar, the Strawb's folk prog, White Lightning and Wildwood's hard garage rock, and plenty of psych like The Outsiders of course. One more mention, Thanks to Mick Mullin (guitarist in Zodiak) for improving the sound quality on the BOA track, good work again!

Following the interview with Klemen is a summary of each band in the comp with a link to their IPB article...take it away Klemen...

Klemen Breznikar
Klemen Breznikar
Q01. To begin, can you tell us some of the major events and influences in your life that lead you to start "It's Psychedelic Baby"?

"When I was just a little kid I found my dad's vinyl collection. At the time we didn't have turntable so I was just looking at the cover artwork and wondered to myself about how they sound.

Later I got a turntable and also at the times, there was this big »music blog« culture, where you could find really rare albums. One of the first albums, that influenced me to become obsessed with psychedelic is »Electric Music For Mind and Body« by Country Joe & The Fish. This was the foundation for me. Out of this I'd found bands like Quicksilver Messenger Service, Grateful Dead, Ultimate Spinach and many others.

I think the main reason to start Psychedelic Baby was getting in contact with C.A. Quintet [vol85] and Ya Ho Wha 13 members, which led to an interview with them. After this I got an idea, that I should expand and do more interviews and articles."

Q02. Are you a musician yourself?

"I'm not in a band, but I like to play some acoustic guitar just for my soul. To relax and to have a little bit of fun."

Q03. You cover a wide range of styles in your webzine, TDATS is mainly about the heavier side of rock, but Psychedelic Baby equally features styles like symphonic prog, raga, folk and acoustic artists. Could you tell us about what your favourite styles are?

"People sometimes confuse, that It's Psychedelic Baby is only for psychedelic music, cos of the name, but that is not true. It all began mostly as a psychedelic-oriented mag, but we've covered like you said a lot of different music genres. I don't like putting music in framework. Anything, that is featured on the magazine is somehow interesting…

My favourite style? Uh, hard to say. I will tell you about what I listen the most, but I can't really say what's my favourite. I think, that my turntable get's a really high amount of late 60s psych and heavy psych and a lot of loner folk, but like I said I'm very open minded when it comes to music."

Q04. I think the transitional period between the mid/late '60s and early '70s was the most fascinating and fertile time in rock history. What are your opinions on why there was such a creative explosion during those times and what other periods interest you most up until the current day?

"The Period between the late 60s and early 70s was incredible, but sometimes we forget, that these days we also have a lot of great and interesting music, but the problem is, that back in the 70s you had amazing bands like Led Zeppelin on top of the charts, cos »Rock« music was the most popular one and you had thousands of bands, that never had the chance for exposure until now, I guess. These days the culture changed and »Rock« became kind of underground, which can produce quite a lot of amazing bands.

The main reason for such an explosion of sounds came from various of reasons. One of them were for sure Vietnam war and consequently all the protests and resistance by students also in France, Germany…

Then a lot of new music gear emerged and that gave an opportunity to produce new, interesting sounds…

People got tired and they wanted to start something new and in a way they managed to create something very unique.

Other periods? Maybe hardcore punk scene is interesting, cos of sociological background and these days I'm surprised how big the scene for psychedelic, doom and all kind of other alternative stuff has become, thanks to internet, which can connect people like never before."

Q05. How are the featured artists chosen for your magazine? Are they voluntary submissions from your writers or do you delegate the writing jobs after deciding what you would like to appear?

"I trust my writers' taste in music. If they found something interesting, they will start working on it, but most of the time we get submissions from labels and bands, that would like us to hear their music and out of that we decide what we will cover. Sometimes it can be really hard, cos of so many artists…

For instance there is a section called »Underground of the day«, which is made by Roman Rathert who is doing interviews with less known bands of today and there you can find tons of new stuff…

The other way around is a search for really obscure bands. We found members and then we do an article about their music and in that way we managed to add a small piece of the puzzle to underground rock music."

Q06. Could you comment on any Psychedelic Baby articles that are particular favourites of yours?

"Huh, that's a hard one. Nicholas Davis wrote a nice article about psychedelia which captured the essence of the word and there is another one called »Music as Medicine«, which is also highly interesting read, then Martin Okun made a series of interesting articles; especially an article called »Hippie Punk Fusion«!, which captures the details how the two genres shed together. Then there are columns by Djin Aquarian of Ya Ho Wha 13 and columns by Rich Haupt, who started Rockadelic label, which released tons of unreleased heavy psych material etc. So it's really hard to say what's my favourite. These days we have so many articles, interviews and columns. I think everyone can find something interesting while browsing through the magazine."

Q07. Do you have any interesting stories regarding how you got in contact with any of the artists for your exclusive interviews?

"Yes, tons of them, but to expose one or two. There was a band back in the early 70s called »Earthen Vessel« and they recorded an amazing Xian heavy psych LP. There was almost no information about them, but I somehow managed to get in contact with the guy who knew the guitarist. Later I managed to get the whole band together to answer questions about the album making. They are living in different parts of the world and to know, that you are the first that is interviewing them for the very first time is something special. There are many similar stories, that happened…

Matija and Klemen with Jura Havidič of Fire
My favourite is perhaps an interview with Jura Havidič of Fire, which was a band from Croatia, but didn't make any noise around here. They were recording an LP in Holland and they did a mini tour of Germany. Kraftwerk once opened for them, which was kind of funny. Me and my dear friend Matija Štumberger somehow located Jura and we went to Zagreb and did this long interview. Jura played some of his old songs for us in his little studio and gave a nice interview. So really great time doing this one."
[I used the fire song 'Could You Understand Me' back on Vol7]

Q08. What is the future for "It's Psychedelic Baby"? Do you have any further plans regarding your love of rock music; any other magazines/books or other types of project in mind?

"Yes, there is a plan to release a physical edition of Psychedelic Baby Magazine. It will be huge issue with 120 A4 pages and various of chapters dedicated to specific themes. But I'll let you know more in the following weeks. Those interested should stay in contact through Facebook fanpage. I think the physical issue will be something special, cos it will include interviews from specific genres but the complete issue will work as a whole.

Other plans? Well, we would like to organize some concerts or even a festival for this kind of music. We are in search of some sponsors, that can back us up. There is so many things in my mind right know and lot's of ideas and hopefully at least some of them will come true."

Q09. Can you tell us something about being a psychedelic rock fan in Slovenia? Do you get much opportunity to watch old bands live?

"Slovenia is a very small country, but we are lucky enough, that we have a very special place called Metelkova, which is alternative place for all kind of arts, but especially for alternative music. Here you can see tons of bands from the States or any other places in the world playing. From pretty well known bands to less known bands. I think it's great to have something like this in homeplace. Hopefully Metelkova will manage to work also in the near future.

You mean bands from the late 60s and 70s? [Yes] Well, there aren't a lot of that coming in our country."

Q10. Are there any other bars, venues or record shops etc that would be good to check out for anyone who finds themselves in Ljubljana or wider Slovenia?

Like I said, Metelkova is a special place for alternative culture, then you have Factory Rog, which is another underground place, that held some cool concerts. For instance Embryo were here about a year ago. If you go to the centre of Ljubljana, which is a capital city you'll find some cool places like Bikofe and also a record store, super cool book store for mysticism and esoterica called Behemot."

Q11. Can you recommend and comment on any artists/bands from Slovenia or surrounding countries, old or new?

"Since Slovenia was part of Yugoslavia in the past there was quite a rock scene. You had bands from Slovenia like Buldožer (very Zappa influenced), Izvir (jazz rock), then there was a lot of good folkies including Tomaž Pengov and folk bands like Sedmina and "Kladivo, Konj in Voda".

Croatia and Serbia produced some amazing bands including Time, Igra Staklenih Perli, Pop Mašina and my favourite of them all - Fire!

These days there aren't a lot of bands from Slovenia, that I like that much. I like Crazed Farmers, which are Beefheart inspired avant-rock and maybe I missed a few bands, but I really can't remember anything else that would stand out at the moment."

Q12. Could you tell us about some of your favourite current or new artists from around the world?

"Oh yeah sure. Well lately just a couple of weeks ago I fall in love with two albums. First one is by Psicomagia, which are in my opinion the most amazing bands out there and the second one is the new one by Aqua Nebula Oscillator.

You should also check Montibus Communitas if you wish to travel across amazonian rainforrest in your mind."

Q13. What have you learnt from your experiences of editing/writing "It's Psychedelic Baby"? Do you have any useful advice for rock fanatics who are considering starting a blog or similar project themselves?

"It's an amazing feeling when you know people are grateful for your work and to help many artists to get exposed is really something special too. Sometimes it is really hard to find and select everything, that is interesting, but we are trying our best.

My advice is just to be open to various of music. Listen closely, spin it often and maybe you'll find something special, that you'll thought you'd never find."

Q14. Finally, on behalf of "It's Psychedelic Baby", do you have anything further to say to readers out there?

"Thank you Rich for your interest in It's Psychedelic Baby and thanks to all you guys for the support. Oh, and remember like Nik Turner of Hawkwind once said in my interview: »Keep taking the tablets, (LSD) and all the natural psychedelics, communicate with the Gods, help each other to get high in a positive way, help each other generally, raise your consciousness, don’t harm yourself or others, love one another, have funnnnnn!!?!"

Thanks Klemen!

Track list

01. Bakerloo [UK] - Once Upon a Time (1969)
       from album 'bakerloo'
02. Charlies [Finland] - Feeling That Feeling (1970)
       from album 'buttocks'
03. Wildwood [US] - Plastic People (1968)
       from album 'plastic people'
04. Corpus [US] - Cruising (1971)
       from album 'creation a child'
05. Wild Turkey [UK] - Twelve Streets of Cobbled Black (1971)
       from album 'battle hymn'
06. Axe [UK] - Peace of Mind (1969)
       from album 'axe'
07. Farm [US] - Jungle Song (1969)
       from album 'farm'
08. Devil's Kitchen [US] - (You've Got Your) Head On Right (1968)
       from album 'devil's kitchen'
09. Harvey Mandel [US] - Snake (1968)
       from album 'cristo redentor'
10. Trilogy [US] - I'm Beginning To Feel It (1970)
       from album 'i'm beginning to feel it'
11. The Outsiders [Nertherlands] - Doctor (1968)
       from album 'CQ (complete polydor tapes)'
12. Pluto [UK] - Down and Out (1971)
       from album 'pluto'
13. Strawbs [UK] - Tomorrow (1972)
       from album 'grave new world'
14. White Lightning [US] - Bogged Down (1968)
       from album 'strikes twice 1968-1969'
15. BOA [US] - A Restful Sleep (1971)
       from album 'wrong road'.

The original line up of Bakerloo included John Hinch on drums who went on to form Judas Priest. Bill Ward of Black Sabbath also drummed for them briefly. They played with Earth (pre-Black Sabbath) on a UK tour called 'Big Bear Ffolly' and they were the support act for Led Zeppelin's début show at London's Marquee Club on 18th October 1968. Various Bakerloo members went on play in Colosseum, Humble Pie, May Blitz, Graham Bond, Vinegar Joe and Uriah Heep. The track I have chosen here, 'Once Upon a Time', was not originally on their s/t 1969 album, it was a b-side to their 'Driving Backwards' single. It starts the comp in an awesome way with that warm, welcoming steel-string acoustic sound that Zep often used. Bakerloo interview with bassist Terry Poole

Charlies were from Lahti southern Finland. The members were Wellu Lehtine (vocals, harmonica, Moroccan clay drums, cowbell), Eero Ravi (guitar), Pitkä Lehtine (bass, tambourine), Kusti Ahlgren (drums, Moroccan clay drums, kettles) and Igor Sidorow (flute, saxophone, piano). There are a couple of re-issues available, of two albums, and 'Feeling That Feeling' is from their second and final album called 'Buttocks' (1970). Charlies interview with guitarist Eero Ravi

Stockton, CA's Wildwood struck me very hard when I first heard the 2012 archival release 'Plastic People' on Frantic Records, I immediately thought "now here's a band with a unique, intense sound that really should have been successful". They worked hard, laying on and promoting gigs for bigger names and acting as their support. They were billed with Grateful Dead, Steve Miller, Elvin Bishop, The Doobie Brothers, Ike & Tina Turner and Cold Blood amoungst others. Rather tragically I think, label disinterest more or less killed them and they only released two singles in their lifespan. I found a review of Plastic People here, which some members of the band have added comments to. Wildwood interview with Mark Stephen Ross & Frank John Colli

Corpus, from Corpus Christi, Texas, made one privately-pressed album of 1001 copies. They played around Texas; Austin, San Antonio, and in the lower south. Achieving local success, according to the IPB interview they disbanded due to difficult circumstances like heavy drug use, which was a shame as their LP is solid and amazingly professional-sounding for a private press, as 'Cruising' will attest. Corpus interview with Gilbert Pena & Rick De Leon

Wild Turkey
Wild Turkey was formed by bassist Glen Cornick after his dismissal from Jethro Tull. The first of their two albums, 'Battle Hymns' (1971), is of main interest to TDATS, as it has a few great heavy prog cuts like Butterfly. In it's life the band toured the UK and US with Black Sabbath, and included members past and present of Babe Ruth, Eyes of Blue, Man, Ancient Grease, Gentle Giant and Cozy Powell's Hammer, amoungst many others. The second album was far less exciting, and I see them as something of a wasted opportunity as LP # 1 had some great proto-metallic prog which was very ahead of it's time, they could have been at the forefront of metal with Sabbath, Judas Priest et al with a bit more development, had they so desired... Glenn Cornick interview about Jethro Tull, Wild Turkey

Guerssen Records issued the acetate 'Axe Music' by Northampton, UK's 'Axe' (aka 'Crystalline') in 2012. A fascinating listen it is too, with a clear line from dreamy, heavy psych into heavy metal, all embellished with the ethereal and delicate vocals of Vivienne Jones. Axe supported the likes of Free, Wishbone Ash & The Who. The vocals were one of the things that John Peel didn't like, so he rejected their demo for radio exposure. Things could have been very different if that had not been the case, they had an unusual sound, similar to that which is popular now with female-fronted 'occult' acts like Purson and Blood Ceremony. Axe/Crystalline interview with Tony Barford

Gary Gordon - Farm
'Farm' was from Southern Illinois. It's Psychedelic Baby comments that they sounded similar to The Allman Brothers. They made only one privately-pressed LP in 1971, which Shadoks issued on CD this year, most of the members were just out of high school which makes this a very impressive effort! There is some great rural US rock on here, including another awesome track 'Cottonfield Woman' which I hope to use later. The Jungle Song, which I used here, is a cool instrumental indeed. Farm interview with Gary Gordon & George Leemon. Farm website here:

Devil's Kitchen
Halfway now and out of the farm, into the 'The Devil's Kitchen'. They were from Illinois but moved to San Francisco and the archival album that had a 2011 release on Lysergic Sound Distributors (LSD) was taken from master tapes that laid forgotten for over 40 years. "They played all the major venues in The Bay Area and Los Angeles during this time period, opening for many very well-known bands, including The Jefferson Airplane, The Grateful Dead, Santana, Quicksilver Messenger Service, The Allman Brothers, Big Brother And The Holding Company with Janis, The Charlatans and others".  '(You've Got Your) Head On Right' is a funky, groovy slice of fuzz. Devil's Kitchen interview with Robbie Stokes

Harvey Mandel (with Eric Clapton)
Harvey Mandel was briefly in Canned Heat in the late '60s, and is again now. He's a had a long and involved career working with many notable names including Bob Dylan, and has also made many solo albums. 'Snake' is taken from his 1968 debut, 'Cristo Redentor'. He displays a unique mixture of jazz, blues and psych here which sounds so fresh it could have been recorded yesterday. Harvey "The Snake" Mandel interview

Trilogy LP (1970)
Trilogy has connection with another band here, as they both included drummer Bernie Pershey. Trilogy was a spin-off from White Lightning that didn't last long but recorded one LP, on which the title track 'I'm Beginning To Feel It' is by far the stand out track. Bernie Pershey interview (White Lightning, Trilogy)

The Outsiders
The Outsiders were a great garage psych band from Amsterdam, Netherlands. They made many singles and two albums before splitting in 1969. The albums were going into uncharted territory, especially for a band in the conservative pop habitat of 1960s Holland, and fans were no longer interested as they left the pop music way behind. You can see where they were going with the dark track I used here, 'Doctor'. The Outsiders interview with Ronnie Splinter

Pluto was formed in early 1970. Guitarist Alan Warner had been in The Foundations, quite a successful soul / rock band from London that toured internationally for four years, supporting the likes of The Byrds, Tim Buckley, and had some chart hits. He also once auditioned for Thin Lizzy when they were still called The Black Eagles. Pluto supported Lindisfarne at the Marquee Club, and tour partners included Genesis, Caravan and Fairport Convention. They split not long after their 1971 s/t album from which 'Down and Out' is taken. Pluto interview with Paul Gardner & Alan Warner

Grave New World LP (1972)
Originally known as the Strawberry Hill Boys (from St Mary's Teacher Training College, Strawberry Hill, Twickenham, London), The Strawbs were mainly known for being a progressive folk rock band. For a short time they had Rick Wakeman on keyboards and one of the first things they ever made was a 1968 recording with Sandy Denny called 'All Our Own Work' which wasn't released until the '70s after the band had changed considerably. I have chosen a great track from 1972's Grave New World album, 'Tomorrow' which contains less of their usual folk sound and goes in a heavier, epic prog direction. Here is an interview with guitarist Dave Lambert who joined shortly after and was part of the band's incarnation that made it big in America: Fire, King Earl Boogie Band, Strawbs interview with Dave Lambert

White Lightning
Nearing the end, and we reach the afore-mentioned White Lightning, from Minneapolis. It was started by guitarist Tom "Zippy" Caplan after leaving The Litter in 1968, and only released one single under that name before recording an album with the name shortened to Lightning. Since then many White Lightning recordings have been released in archival releases by labels like Arf Arf. Lightning supported the likes of Jethro Tull and The Amboy Dukes. They were quite heavily promoted but it was not be and broke up soon after the name change. In this interview Tom states that he is not happy with the production of the Lightning album: The Litter, White Lightning & Lightning interview with Tom "Zippy" Caplan

BOA - Wrong Road LP (1971)
The concluding track of this TDATS is from an extreme rarity that as been re-issued by archival labels such as Arf Arf. BOA made one privately-pressed LP in 1971 called 'Wrong Road'. It was a very amateurish affair, recorded in a "tupperware warehouse" according to drummer Richard Allen. Each song was recorded live in one take, with minimal mics set up and no production or mixing at all. The band started as 'Anvil' and only played locally at parties etc. The music is a mixture of garage rock and early hard rock and 'A Restful Sleep' is the longest and most adventurous song on the album, of which only 200 were pressed. BOA Interview with Richard Allen & Ted Burris

Phew! If you've got this far....thanks for listening.....also thanks to Klemen and It's Psychedelic Baby; keep up the good work of revealing the forgotten and fading history of rock, Rich.

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